Highlights of 30º MCB Design Award's textile category

Museu da Casa Brasileira

Brazilian innovation: from sustainable use to 3D print

The result of the 30th MCB Design Award's textile category presents products with innovative solutions, with new ways of thinking and doing the creative process. The final selection was based on projects of textile surfaces, which brought in their configuration sustainable elements related to the environmental dimension. Transcending the functionality of textile production bases and supports, it was also considered relevant to promote the honorable mention of social impact projects, in order to foster the importance of the transformative power of Brazilian textile design. Contributions with a strong inclination for sociocultural discussions supported by aesthetic forms of the craft were systematized in collaborative actions to create the product.

From this perspective, the jury stressed that innovation as a value proposition presented in the pieces highlights the possibility of designing creative and responsible solutions towards a prosperous and favorable future for society and the next generations.

Textile made of fishing nets

1º place in product category
Authorship: Nara Guichon
The creator consciously uses the relation of use and consumption from an observation of the local reality – the fishing net – and declares, in a poetic way, practices of transformation of the disposal.

It is innovative because of the use of a material totally despised and discarded by the fishing industry, creating a weft rich in textures. By suffering direct interference of nature and having been softened by the weather, beautiful color gradients appear.

It is sturdy and it can be exposed to rain and moisture. It transforms disposal into a coveted item through conscious production.

Fabric made from textile waste of the garment industry, more specifically of flat fabric, the structure of which makes it suitable for the construction of shirts and garments or for use in details of garments

2º place in product category
Authorship: Maria Agustina Comas Oyenard
The designer strategically presents his creative process, the choice of materiality for the elaboration of the piece promotes a production and contemporary discussion under values ​​of innovation and sustainability to create this object.

In the case of waste selvedge, usually a discarded material, they are transformed, valuing their characteristics as a resource for a "new" fabric and a "new" use. The possibility of using this waste from the textile industry on an industrial scale is one of the strengths of this project.

These "counter forms" of using represent from 10% to 15% of the cut fabric. Tons of selvedge are generated in the apparel factories, so the project proposes a very pertinent dialogue among small productive groups and the great fashion industry.

Moreover, once it is the edge of the fabric, the selvedge is constructed in a closed structure that does not break, having, therefore, its own workmanship.

The variant presented in this award is Oricla Indigo, made from leftovers of denim hosiery. Other variants were made from white, black and navy blue tricoline shirts, coming in very different results. The possibility of having several variants of the same fabric is also a design differential.

Another differential is that the Oricla fabric is produced by the process known as upcycling. It is about transforming materials and products that have been discarded or left aside in new products with greater value and quality.

Upcycling differs from initiatives in which new fabrics are made from waste recycling. The recycling process defibrates the original fabric to create a new fiber, which will then be spun and woven. In the case of Oricla, the discarded material is transformed, valuing its characteristics as a design feature for the new fabric.

Fashion and Resilience
Textile wastes with free form crochet technique

Honorable mention in the product category
Authorship: Eloize Navalon, Regina Barbosa Ramos, Adriana Ferreira de Martinez, Celina Faloppa, Claudia Regina Martins, Linda Jade de Sá Freitas, Paulo Samú e Priscila Curce
The object and its production stand out by revealing a social dimension that translates itself into practices of co-creation mediated when transferring traditional craftsmanship techniques, which attends to one of the biases of the social designer. The project exemplifies the social role of the designer very well.

The highlight is the co-creation process, the result of actions with mastectomized women and the questioning required by the beauty standards imposed by fashion. The manufacturing process is manual and the materials employed are reusable fibers / yarns. As it is a prototype project for a specific event (parade of the mastectomized patients of the Perola Byington Hospital), the points to be improved are related to the commercial implantation of such proposal.

Lace without needles
Shawls, scarves, yarns, collars and bracelets inspired by Brazilian lace with a decorative role

Honorable mention in product category
Authorship: Renata Meirelles
Smart fabrics, laser cutting, 3D printing are strategic possibilities increasingly used among the innovations for the clothing industry.

The collection revisits, in an innovative way, the Brazilian lace, using techniques of tissue with laser cut and assigning characteristics of greater flexibility, movement, tactile and visual differential.

The collection has a new aesthetic perspective in garment design.

The creation of designs inspired by the lace are vectorized and then laser cut into fabric, dialoguing with the collection of clothes for which it was created.

Materials: Taffeta and magnet for bracelets clasps.

The development process involves the search for surplus materials in the textile production chain

Selected for exhibition in product category
Authorship: Sônia Pivotto
The growing concern about environmental issues has been mobilizing civil society, social organizations and other institutions around it, making sustainable development a vital issue for understanding the need for a conscious development of human, nature and its preservation.

The presented product proposes this discussion and uses textile residues (threads, yarns and ribbons) in the construction of a fabric with a pleasant touch and well accepted in consumption production.

3D Mesh
3D printed mesh formed by interlacing rings

Honorable mention in prototype category
Authorship: Renata Meirelles
In the context of technological innovations, 3D printing has allowed a new "look" for aesthetic perspectives of clothing design. The project brings discussions of the limits of the textile, and how technology can be applied in design projects and the exploitation of these technical limits on 3D printing.

Clothing design is an industry always aware of such innovations, which allows a design with differentials. The use of the piece can be applied in the architecture, in the form of panels and partitions, as on the body, with the development of necklaces, bracelets, earrings and even clothes.

Initially, the piece is drawn in a three-dimensional modeling software and then submitted for technical feasibility analysis of the impression considering the maximum area and minimum thickness. They are then printed in high strength white polymer and dyed with water-based pigment. In some cases the piece is ready, in others, these modules are connected differently according to design and function, using metallic crochet and knitting rings.

In some cases, the use of 3D with other raw materials, such as flexible polymers (technology not yet available in Brazil), would put the work closer to the textile, making the impression become malleable.

Coat with techniques of manual spinning, natural dyeing and handmade weaving

Selected for exhibition in product category
Authorship: Flavia Aranha e Central Veredas
Design and crafts are insertions that create approximations for making contemporary objects. Several productive interventions of design in the artisan artifacts allow interdisciplinary collaborations between designers and craftsmen, punctuating actions of improvement in the productive process and aesthetic.

The highlight is the spinning, dyeing and weaving process, as well as the rescue of an artisan tradition through the contemporary look of a designer.

Cotton is grown in backyards, pitted and spun in a farm. After spinning, it undergoes a natural dyeing process with plants of the local flora. With the line, the warp is mounted on the manual loom and weaved so that it looks plush. In this step the two parts are woven, which will be stitched to form a jacket, which is finished only with side seams and in the center of the back.

Credits: Story


Geraldo Alckmin
Governador do Estado

José Luiz Penna
Secretário de Estado da Cultura

Romildo Campello
Secretário-adjunto de Estado da Cultura

Regina Ponte
Coordenadora da Unidade de Preservação do Patrimônio Museológico


Conselho de Administração
Pieter Thomas Tjabbes (presidente)
Elisa Maria Americano Saintive (vice-presidente)
André Vainer
Hélio Rubens Ribeiro Costa
Marcos Cartum
Michel Fábio Brull
Wilton Guerra

Diretoria da Organização Social
Renata Cunha Bueno Mellão (presidente)
Maria Eduarda Barros de Tomasi Mellão
Marta Villares Ribeiro Mata

Conselho de Orientação Cultural
Carlos Alberto Cerqueira Lemos (presidente)
Maria Ruth Amaral de Sampaio (vice-presidente)
Cristiana Nunes Galvão de Barros Barreto
Douglas Canjani de Araújo
Francisco Inácio Scaramelli Homem de Melo
Heloisa Maria Silveira Barbuy
Marcos da Costa Braga

Comitê de Programação
Alécio Rossi
Alexandre Wollner
Ana Helena Curti de Araújo
Douglas Canjani
José Pedro de Oliveira Costa
Luis Fisberg
Marcos Cartum
Renata Cunha Bueno Mellão
Wilton Guerra


Miriam Lerner – Diretora Geral
Giancarlo Latorraca – Diretor Técnico
Marco Antonio Alves – Diretor Adm. Financeiro

Administrativo – Financeiro – Contratos
Renata Prioste de Lima – Coordenadora
Karina Magalhães Soares – Analista
Carolina Ferreira Tavares Silva – Analista
Priscilla Lopes de Lima Paulino – Analista
Gabriel Rodrigues dos Santos - Auxiliar
Geovana Ferreira dos Santos – Recepcionista
Ionara Moura Ferreira – Recepcionista
Pamela de Oliveira Soares – Recepcionista
Sandra da Silva Pereira – Recepcionista

Captação e Eventos
Renata Bombardi – Analista de Projetos
Ana Paula Carmo – Analista
Thais Madeira Zimmermann – Aux. De Eventos Pl
Bruno Otavio Toma da Silva – Analista

Luciana Tamaki – Coordenadora
Bruno Dória – Analista

Documentação, pesquisa e acervo
Wilton Guerra – Gerente
Erica de Oliveira Nascimento – Analista de Preservação e Pesquisa
Patricia Cristina Rodrigues de OIiveira – Bibliotecária
Agnes Quene – Auxiliar de Preservação e Pesquisa

Andre Reinach – Educador
Elizabeth Maria Ziani – Educador
Carlos Barmak – Coordenador
Dayves Augusto Vegini – Assistente
Rafael de Souza – Auxiliar
Mariana Mifano Galender – Educadora
Marcos Roberto Gorgatti – Educador
Selma Maria Kuanse – Educadora
Suiá Burguer Ferlauto – Educadora

Marcela Dias de Camargo – Gerente
Renata Silva de Sousa – Auxiliar Administrativo
Washington Luiz Bernardo dos Santos – Supervisor
Valdemar Campos Azevedo – Oficial
Paulo Cesar Santos Teles – Oficial
Paulo Henrique Guimarães Mayer – Meio Oficial
Paulo Rogerio Santos – Meio Oficial
Anderson Belloni da Cruz – Meio Oficial

Orientadores de Público
Gisele Dias – Supervisora
Amanda Rodrigues de Freitas – Orientador
Diego dos Santos – Orientador
Gabriela Oliveira Santana – Orientador
Leandra Florentino – Orientador
Larana Maria Rodrigues da Silva – Aprendiz
Natália Silva Santos – Aprendiz

Carmelita Moraes – Coordenadora

Núcleo Técnico
Frederico Teixeira - Gerente
Luis Henrique Santos de Souza – Auxiliar

Design Gráfico
Alisson Ricardo – Designer Gráfico

Prêmio Design
Meire Assami Yamauchi – Gerente
Gian Carlo Rufatto – Assistente
Rogerio Farias de Paula – Auxiliar

Recursos Humanos
Luzia Camargo Falaschi – Coordenadora
Rosangela Nogueira dos Santos – Assistente

30º Prêmio Design MCB

Júri Cartaz
Rico Lins (coordenador),
Carla Caffé
Carla Castilho
Chico Homem de Melo
Eliane Stephan
Mariana Bernd
Monique Schenkels

Júri Produtos
Marcelo Oliveira (coordenador)
Artur Grisanti Mausbach
Carlos Fortes
Carlos Marcelo Teixeira
Claudia Facca
Cristiane Aun
Daniel Candia Alcântara de Oliveira
Debora Carammaschi
Edison Barone
Fernanda Yamamoto
Giorgio Giorgi Junior
João Bezerra de Menezes
Julio Cesar de Freitas
Luis Alexandre Ogasawara
Marcos Batista
Mauro Claro
Milton Francisco Junior
Miriam Levinbook
Olavo E. de Souza Aranha
Renato Kinker
Ricardo Schwab Schirmer
Robinson Salata

Júri Trabalhos escritos
Priscila Lena Farias (coordenadora)
Ágata Tinoco
Alécio Rossi
Andrea Almeida
Anna Paula Silva Gouveia
Auresnede Pires Stephan
Charles Vincent
Cibele Taralli
Clice Mazzilli
Cyntia S. Malaguti de Sousa
Denise Dantas
Edson do Prado Pfützenreuter
Eleida Pereira de Camargo
Fernanda Sarmento
Gil Barros
Giselle Beiguelman
Kathia Castilho
Luz García Neira
Mara Gama
Mariana Rachel Roncoletta
Marili Brandão
Marizilda dos Santos Menezes
Milene Soares Cara
Norberto Gaudêncio Junior
Patricia Amorim
Polise Moreira De Marchi
Rodrigo Naumann Boufleur
Sara Goldchmit
Tatiana Sakurai
Teresa Maria Riccetti
Zuleica Schincariol

Consultoria técnica
Dr. Rodrigo Genícolo Vieira


Acciart Comunicação Visual

Alca Serviços

Caio Matheus de Sá Telles Martins
– Vencedor do concurso do cartaz
Victor Buck (Dito Criativo)

Credits: All media
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